Liberation of the Actor
Temple Lodge, 1992 - 148 pages
The artist was once a messenger of the gods. Breathing in, the Greek actor was lifted into a realm of thought and inspiration. And breathing out, the will was strengthened. Can modern actors again become messengers through their own power of description and dramatization?
Anyone with an interest in the spoken word, acting, or the future of the theater in general will welcome this book. The author goes beyond simple character study and interpretation to reexamine the forgotten esoteric aspects of acting. Based on Rudolf Steiner's ideas on speech and drama, Bridgmont provides a new basis for the true liberation of actors today.
C O N T E N T S
1. Where is the Actor?
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Familiar. with. the. Sounds. we. Speak. I have referred to the gestures that lie in
individual sounds . One can believe that all spoken sounds initially sprang from
an exclamation of wonder or fear , and so forth . We can illustrate something of
The behaviour of the characters is familiar ; they act and react within a
conventional pattern , and we can understand the line of thought and direction of
the emotions . From the characters ' attitudes we can deduce how they feel and
why they ...
A picture gallery that catered for the familiar would have the same atmosphere . I
believe that what is understood and recognized in other arts is not of the best ,
but in the theatre the success of naturalism relies entirely on this audience
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